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Scratch Play Pro

I've been using this for a while now and have subscribed.For all of you using Windows this is an essential, once you get your head around the interface, and it hasn't changed since I last used Scratch over ten years ago, it's a really simple way to generate ProRes.I render out DNxHR 444 12 bit in Resolve and load that into Scratch, about twice the clip length later I have ProRes 444.

I've been using this for a while now and have subscribed.For all of you using Windows this is an essential, once you get your head around the interface, and it hasn't changed since I last used Scratch over ten years ago, it's a really simple way to generate ProRes.I render out DNxHR 444 12 bit in Resolve and load that into Scratch, about twice the clip length later I have ProRes 444.

I've been using this for a while now and have subscribed.For all of you using Windows this is an essential, once you get your head around the interface, and it hasn't changed since I last used Scratch over ten years ago, it's a really simple way to generate ProRes.I render out DNxHR 444 12 bit in Resolve and load that into Scratch, about twice the clip length later I have ProRes 444.

I believe Apple doesn't want to license it to those apps that would be competing directly with FCPX and/or the Mac. It's safe to say that neither a $30,000 Resolve Advanced Control Panel on Linux nor Scratch Play Pro are competing with FCPX.

I would like to voice an opinion here of industry direction. ProRes has done us well over the years, however, it has predominantly been used as a marketing and control mechanism for Apple to apply a walled garden approach to content production.

There are plenty of open source SMPTE endorsed codecs that are as good and better in many ways as the internals are well understood and transparent. An example of this is SMPTE-VC5, a far - far more effective in compression and capabilities to ProResRAW. However, Apple chose to implement a proprietary equivalent over a superior open standard.

There has been many companies that have created ProRes toolsets for the industry, but they all seem to "vanish without trace" after getting reasonable traction.

As a business owner that is not only technical, but has some understanding of IP and licensing, it is unwise to utilise proprietary codecs for masters, as one day, accessing those masters "could" become a licensing issue.

I know Apple makes it easy if you use ProRes, but there is a method to this madness that must be understood.

There are reasons why IMF and other slated target mastering formats utilise non-proprietary codecs. (Altho Apple is pushing its way in and paying to make sure ProRes is be part of this too as it will undermine a great source of market control they have if the industry moves away from its proprietary codec.)

You may just be from a small edit shop and all you care is to get the job done with great creative work, on time and under budget. But please do keep this in mind as long term it may have a detrimental effect on the masters and original source files of the content.

I would strongly suggest moving away from Proprietary codecs when possible going forward.

Altho VC5 is ratified, it has failed to gain traction. I would suggest you ask vendors why. Other important developments that will affect this market is an expansion on JPEG2000 with super hi-speed but 10-20% bigger files. Making it a usable mezzanine codec and not only a distribution codec that is used in Digital Cinema and IMF deliverables.

I've posted about this several times here on CML, that having the
biz relying so heavily on a licensed codec owned by a somewhat
mercurial and highly profit motivated company like Apple was not a
good idea.

My posts have all been met with either the sound of crickets, or
people pooh-poohing the idea that those wonderful people at Apple
would ever do anything to make everyone regret using their
proprietary codec.

So while I agree with you about how queasy this should make people
feel, I'll be surprised if the idea gains much traction here. People
want to shoot RAW or ProRes, and that seems to be that.

With its universally accepted format for interchange, ProRes has
become the Lingua Franca of the biz, and it's going to be very
difficult to change that if Apple doesn't do anything to piss people
off enough to look at alternatives.

I would like to voice an opinion here of industry
direction. ProRes has done us well over the years, however,
it has predominantly been used as a marketing and control
mechanism for Apple to apply a walled garden approach to
content production.

There are plenty of open source SMPTE endorsed codecs that
are as good and better in many ways as the internals are well
understood and transparent. An example of this is SMPTE-VC5,
a far - far more effective in compression and capabilities to
ProResRAW. However, Apple chose to implement a proprietary
equivalent over a superior open standard.

There has been many companies that have created ProRes
toolsets for the industry, but they all seem to "vanish
without trace" after getting reasonable traction.

As a business owner that is not only technical, but has
some understanding of IP and licensing, it is unwise to
utilise proprietary codecs for masters, as one day, accessing
those masters "could" become a licensing issue.

I know Apple makes it easy if you use ProRes, but there is
a method to this madness that must be understood.

There are reasons why IMF and other slated target mastering
formats utilise non-proprietary codecs. (Altho Apple is
pushing its way in and paying to make sure ProRes is be part
of this too as it will undermine a great source of market
control they have if the industry moves away from its
proprietary codec.)

You may just be from a small edit shop and all you care is
to get the job done with great creative work, on time and
under budget. But please do keep this in mind as long term it
may have a detrimental effect on the masters and original
source files of the content.

I would strongly suggest moving away from Proprietary
codecs when possible going forward.

Altho VC5 is ratified, it has failed to gain traction. I
would suggest you ask vendors why. Other important
developments that will affect this market is an expansion on
JPEG2000 with super hi-speed but 10-20% bigger files. Making
it a usable mezzanine codec and not only a distribution codec
that is used in Digital Cinema and IMF deliverables.

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